To the
extent that it does not withdraw to the
balconies of academic theory or the bunkers of art criticism, critique
is not
simply a practice of judging. The meanings of critique, developed over
the
course of centuries, as a faculty of distinction, a critical attitude,
or as a
practical critical activity are assuming new forms today: as atopical
critique,
embodied critique, affirmative critique, criticality. The texts of the
current
transversal issue seek to update this kind of constant renewal of
critique on
the basis of shifted or newly invented concepts and exemplary
experiences.